September 12, 2014

Fette Sans, Untitled [Foire du Trône], 2014.

See also, SATAN, SALSA!.

September 12, 2014
ULTRA PANDA, SATAN, SALSA!, 2014. LP, 300 copies, 33 rpm, black vinyl, 180g.
The record is out September 14th and is available on Chanmax, Bigoût, and on Amazon (mp3 only). You can already listen to two of the tracks here (yet, my favorite in Tabayo). Ultra Panda will be playing in Paris October 11th at Le Nouveau Casino, indeed, you should go.
I shot the cover, on my first day ever spent at La Foire du Trône in Paris. Thank you David for bringing me there, and Sébastien for letting me invade your music since 1998.

ULTRA PANDA, SATAN, SALSA!, 2014. LP, 300 copies, 33 rpm, black vinyl, 180g.

The record is out September 14th and is available on Chanmax, Bigoût, and on Amazon (mp3 only). You can already listen to two of the tracks here (yet, my favorite in Tabayo). Ultra Panda will be playing in Paris October 11th at Le Nouveau Casino, indeed, you should go.

I shot the cover, on my first day ever spent at La Foire du Trône in Paris. Thank you David for bringing me there, and Sébastien for letting me invade your music since 1998.

September 9, 2014
Top, screen capture from Ed Atkins, Ribbons, 2014, Four channel 4:3 in 16:9 HD video with four 4.1 channel surround soundtracks, 14 minutes. Watch a 2:22 min excerpt. Bottom, Peter Fischli & David Weiss, Monument,1984, C-print, 9 1/4 x 13 inches; 24 x 33 cm. Via.
—
Narrative structure is prison; it is tradition; it is a lie; it is a formula that is imposed.
Dušan Makavejev. Via.
Watch Sweet Movie, 1974.

Top, screen capture from Ed Atkins, Ribbons, 2014, Four channel 4:3 in 16:9 HD video with four 4.1 channel surround soundtracks, 14 minutes. Watch a 2:22 min excerpt. Bottom, Peter Fischli & David Weiss, Monument,1984, C-print, 9 1/4 x 13 inches; 24 x 33 cm. Via.

Narrative structure is prison; it is tradition; it is a lie; it is a formula that is imposed.

Dušan Makavejev. Via.

Watch Sweet Movie, 1974.

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Filed under: diptych quotes 
September 5, 2014
Fette Sans, Untitled, 2014.

Fette Sans, Untitled, 2014.

September 5, 2014
In probably his best-known piece “The Third Memory,” from 1999, he tracked down John Wojtowicz, whose failed robbery of a Brooklyn bank in 1972 became the basis for Sidney Lumet’s film “Dog Day Afternoon.” Mr. Huyghe built a reproduction of the film set and asked Mr. Wojtowicz, who had criticized the movie’s accuracy, to retell and re-enact his story for the video. Yet it turned out that Mr. Wojtowicz’s memories of what really happened and what “happened” to Al Pacino, who portrayed him in the movie, had become inextricably mingled into a new kind of reality.

Randy Kennedy, Conceptual Anarchy - Pierre Huyghe’s Unpredictable Retrospective, for the NYT, September 2014.

His exhibition opens November 23rd at the Los Angeles County Museum of Art.

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Filed under: linked excerpts 
September 4, 2014
Top, photograph by Vittoria Mentasti, From the series A Woman With Two Names, 2014. Via. Bottom, screen captures from BRBXOXO.com taken at 11:49PM, July 29, 2014. Via.
There is a website, brbxoxo.com, that “searches online sexcam sites and only broadcasts feeds when the performers are absent.” The rooms themselves are very interesting and vary widely in their layout, decoration, and overall aesthetics. They are not necessarily American. And they are not always beige.
Paul Ford, The American Room - Behind the nation’s closed doors, with YouTube, July 30, 2014.
—
Nudity is no longer intimate enough: what we want to see, most of all, is failure. And this is where the trolls get off: because they view the leaks as confirmation that the women in these pictures are stupid. “The Fappening” confirms their tenet that men, not pretty girls, are what makes the world—or at least the internet—go around. It confirms that they know more about technology, and privacy, and basic iCloud maintenance. It reassures them that the web is a patriarchal place, that the biggest risks in online life apply not to them but to nubile young women, who, granted the power of sex appeal, risk losing it all when that sex appeal is publicly distributed. You’d have to wonder if these men – who you can find in your nearest Fappening-related comments section – get off more on lecturing women about online security than they do on the actual pictures.
Roisin Kiberd, The Fappening Has Revealed a New Type of Pervert, for Vice Magazine, September 2014. Via.

Top, photograph by Vittoria Mentasti, From the series A Woman With Two Names, 2014. Via. Bottom, screen captures from BRBXOXO.com taken at 11:49PM, July 29, 2014. Via.

There is a website, brbxoxo.com, that “searches online sexcam sites and only broadcasts feeds when the performers are absent.” The rooms themselves are very interesting and vary widely in their layout, decoration, and overall aesthetics. They are not necessarily American. And they are not always beige.

Paul Ford, The American Room - Behind the nation’s closed doors, with YouTube, July 30, 2014.

Nudity is no longer intimate enough: what we want to see, most of all, is failure. And this is where the trolls get off: because they view the leaks as confirmation that the women in these pictures are stupid. “The Fappening” confirms their tenet that men, not pretty girls, are what makes the world—or at least the internet—go around. It confirms that they know more about technology, and privacy, and basic iCloud maintenance. It reassures them that the web is a patriarchal place, that the biggest risks in online life apply not to them but to nubile young women, who, granted the power of sex appeal, risk losing it all when that sex appeal is publicly distributed. You’d have to wonder if these men – who you can find in your nearest Fappening-related comments section – get off more on lecturing women about online security than they do on the actual pictures.

Roisin Kiberd, The Fappening Has Revealed a New Type of Pervert, for Vice Magazine, September 2014. Via.

September 4, 2014

Fette Sans, Untitled [12.52.50 - 12.52.57], 2014.

When I say, ‘this is now’, it becomes then. There is not now, it appears to us as a moment, but the moment itself is an illusion. It is and isn’t, and this illusion is a series of about-to-bes and has-beens, that put together seem an event. It is a construction, an invention of our minds. Its familiarity makes it invisible. Our lives are real dreams that have been just one moment, all at once, now.

Duane Michals. Via.

September 3, 2014
Fette Sans, Untitled, 2014.
I am in Paris for a few days. Write me and I will shoot you.

Fette Sans, Untitled, 2014.

I am in Paris for a few days. Write me and I will shoot you.

September 2, 2014

Fette Sans, Untitled (Assuétude), 2014.

September 2, 2014

Chris & Cosey, Arcade, 1987. From the album Exotica. Via.

(via spectrumvivace)

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Filed under: Sound 
September 2, 2014
Top, photograph by Robert Melee, from the series A dozen Roses, 1993-2004. Via. Bottom, photograph by Matt Henry, from the series The King. Via.
See also, Leigh Ledare, Pretend You’re Actually Alive, 2008.
—
Our identity is fictional, written by parents, relatives, education, society.
Genesis P. Orridge. Via.

Top, photograph by Robert Melee, from the series A dozen Roses, 1993-2004. Via. Bottom, photograph by Matt Henry, from the series The King. Via.

See also, Leigh Ledare, Pretend You’re Actually Alive, 2008.

Our identity is fictional, written by parents, relatives, education, society.

Genesis P. Orridge. Via.

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Filed under: diptych quotes 
August 29, 2014
Top, screen capture from Pipilotti Rist, I’m not the Girl Who Misses Much, 1986, 5 min 2 sec. Via. Bottom, painting by Contemporary Art Daily Painting of Dennis Oppenheim, Disappear, 1972, Super-8 film conversion, split channel audio converted to digital file. TRT: 6 minutes, continuous loop. Part of the exhibition Technokinesis at Blum & Poe. View the original photograph.

Top, screen capture from Pipilotti Rist, I’m not the Girl Who Misses Much, 1986, 5 min 2 sec. Via. Bottom, painting by Contemporary Art Daily Painting of Dennis Oppenheim, Disappear, 1972, Super-8 film conversion, split channel audio converted to digital file. TRT: 6 minutes, continuous loop. Part of the exhibition Technokinesis at Blum & Poe. View the original photograph.

August 26, 2014
Sometimes, Ramon and I happen to be in the same city at the same time. These moments are the most precious.

Sometimes, Ramon and I happen to be in the same city at the same time. These moments are the most precious.

(Source: ramonhaindl)